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Preliminary Experience Create a Journal from an Altered Book
IINTRODUCTIONNTRODUCTION Photo caption. Photo caption. Preliminary Experience Create a Journal from an Altered Book OBJECTIVES A TEACHING GUIDE FOR GRADE 4 AArtrtrtSmaSSmart:mart:t: Indiana INDIANA’S VISUAL ARTS AND ARTISTS The fi rst ArtSmart: Indiana was a major educational and public program of the Greater Lafayette Art Museum (now the Art Museum of Greater Lafayette), created to meet the goal of improving visual literacy, museum education skills, and awareness of the development of art in Indiana. The original program, (1986) written by Susan O. Chavers, and implemented by Sharon Smith Theobald, was a nontraditional multidisciplinary approach that was well received by Hoosier teachers who included ArtSmart: Indiana in their curricular plans. A copy of the ArtSmart: Indiana 200 page Resource Guide was sent to every library throughout Indiana, with the support of Pam Bennett at the Indiana Historical Bureau. The current revision of ArtSmart: Indiana, as a web-based initiative, is a Partnership Education Program of the Art Museum of Greater Lafayette and The Children’s Museum of Indianapolis. Special appreciation is extended to Dr. Jeffrey Patchen, President and CEO, and Mary Fortney, Educational Resource Development Manager, The Children’s Museum of Indianapolis. The updated ArtSmart: Indiana project was funded by a grant from the Institute of Museum and Library Services with additional support from the McAllister Foundation to launch the McAllister Art Smart: Indiana Technology Center. Also, Randolph Deer, Indianapolis, and The North Central Health Services helped underwrite the additional printings of the The Art Smart: Indiana Resource Catalog and The Teaching Guide. Please visit our website, www.artsmartindiana.org. -
Paint and Canvas a Life of T
TEACHER RESOURCE by Elaine G. Rosa for the Indiana Historical Society Press publication Paint and Canvas A Life of T. C. Steele by Rachel Berenson Perry This is a publication of the Indiana Historical Society Eugene and Marilyn Glick Indiana History Center 450 West Ohio Street Indianapolis, IN 46202-3269 USA Teacher Resource available online: http://www.indianahistory.org Book orders (telephone): (800) 447-1830 Book orders (fax): (317) 234-0562 Copyright 2012 Indiana Historical Society All rights reserved Except for copying portions of the teacher resources by educators for classroom use, or for quoting of brief passages for reviews, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise), without written permission of the copyright owner. All inquiries should be addressed to the Indiana Historical Society Press. Overview/Description ° High School, English Language Arts–– Theodore Clement Steele was an American 9–10.W.2 Write informational and explana- Impressionist painter known for his Indiana tory texts to examine and convey complex landscapes. He is considered an innovator and ideas, concepts, and information clearly and leader in American Midwest painting and one of accurately through the effective selection, the Hoosier Group of Indiana artists. organization, and analysis of content. This teacher resource provides suggested learning ° High School, English Language Arts–– activities that relate to the Indiana Historical Society 9–10.W.3 Write narratives to develop real Press youth biography Paint and Canvas: A Life of or imagined experiences or events using T. -
A SHARED HERITAGE African American Culture Flourished Through His Painting to Inspire the Received Early Instruction from Promi in the Mid- to Late-1920S
. A SHARED HERITAGE African American culture flourished through his painting to inspire the received early instruction from promi in the mid- to late-1920s. Countee Cullen artistic talents of Indianapolis's black nent members of the Hoosier Group, published his first volume of poems, community. John We sley Hardrick primarily William Forsyth (1854-.-1935) Color(19 25); the \#a ry Blues (1926) by (1891-1968), fo r a brochure accom and Otto Stark (1859-1926). Hardrick, Langston Hughes appeared on popular panying an exhibition of his paintings, Scott, and Wo odruff were among a reading lists; satirist George S. Schuyler wrote that his goal was "to stimulate growing number of aspiring black artists wrote fo r The American Mercury; and an interest among the colored citizens who were participating in the devel Claude McKay's novel Home to Ha rlem of Indianapolis to encourage art; to in opment of American art on a regional (1928) became a best-seller. These spire, if possible, some young talented and national basis during the early RAINY NIGHT, ETAPLES. 1912. WILLIAM E. SCOT T. INDIANAPOLIS MUSEUM OF ART, GIFT OF A GROUP OF AFRICAN AMERICAN CITIZENS OF INDIANAPOLIS. African Americans were among the boy or girl to realize that 'Life without 1900s. They also seized a "chance fo r many who contributed to a literary and labor is a crime, and labor without art group expression and self determina artistic movement known as the Harlem is brutality."' tion" by turning to black subject mat Renaissance. Through art, leader and Hardrick and his contemporaries ter in their work. -
Maryland Historical Trust
NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking “x” in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter “N/A” for “not applicable.” For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Recorder of Deeds Building other names 2. Location street & number 515 D Street NW not for publication city or town Washington, DC vicinity state DC code DC County code 001 zip code 20001 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property meets does not meet the National Register criteria. I recommend that this property be considered significant nationally statewide locally. ( See continuation sheet for additional comments). -
A Reflection and Recognition of the African American Family (Revised)
DOCUMENT RESUME ED 280 925 UD 025 430 TITLE Black History Month: A Reflection and Recognition of the African American Family (Revised). INSTITUTION New York State Education Dept., Albany. Div. of Civil Rights and Intercultural Relations. PUB DATE Jan 86 NOTE 59p.; For previous edition, see ED 255 592. AVAILABLE FROMNew York State Education Dept., Division of Civil Rights and Intercultural Relations, Room 471 EBA-Washington Ave., Albany, NY 12234 (free). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) -- Reference Materials - Bibliographies (131) EDRS PnICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Black Achievement; *Black History; *Black Influences; Elementary Secondary Education; Instructional Materials; Learning Activities ABSTRACT Instructional materials for nse during Black History Month in elementary and secondary schools are compiled in this booklet. Background information, instructional activities, and resources for classroom use are included for all disciplines. The materials are designed to reflect the relationship between past and present events in African and African American history. Following a foreword, instructor's guide, and chronology of notable African Americans, the booklet is divided into seven sections containing materials o, respectively: General Achievements, Business, Religion, Politics, Music, Math/Science, and Education. Each section consists of four components: (1) an overview (for use as handouts or in-class reading for students; (2) a statement of objectives (to be used by teachers as goals for each unit of instruction); (3) a list of "Facts You Should Know' which provide a chronological perspective of the achievements of African Americans; and (4) instructional activities which may be assigned to students across subject areas. -
TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection
TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection Kate Ramsey and Louis Herns Marcelin Mario Benjamin b. 1964, Port-au-Prince, Haiti Untitled, ca. 1996 mixed media on masonite 60 x 48 1/4 x 3 7/8 in. (152.4 x 122.6 x 9.8 cm) Gift of Dr. and Mrs. Carl Eisdorfer, 2002.57.48 Published on the occasion of the exhibition Transformative Visions: Works by Haitian Artists from the Permanent Collection, November 8, 2014 – January 18, 2015. Organized by Louis Herns Marcelin, Ph.D. and Kate Ramsey, Ph.D. TRANSFORMATIVE VISIONS reproduced in any form, by any means, electronic or mechanical, including photocopying, or by any storage or retrieval system, without the written permission of the Lowe Art Museum, University of Miami, Coral Gables, Florida 33146. the materials presented herein. Any person or organization that may have been inadvertently overlooked vi FOREWORD or proved unreachable should contact the Lowe directly so that the necessary corrections can be made in Jill Deupi any future printings. viii ACKNOWLEDGMENTS Funding for the exhibition and catalogue was made possible through Beaux Art, and the membership of Kate Ramsey and Louis Herns Marcelin the Lowe Art Museum, with additional support from the Linnie E. Dalbeck Memorial Foundation Trust. xi NOTE ON THE SPELLING OF TERMS IN HAITIAN KREYÒL 1 TRANSFORMATIVE VISIONS: AN INTRODUCTION Additional programmatic support was provided through HSBC, the University of Miami’s Center for the Humanities, the College of Arts and Sciences’ Strategic Initiatives Fund, Caribbean Literary and Cultural Kate Ramsey Studies in the Department of English, the Department of Modern Languages and Literatures Joseph Carter Memorial Fund, the Department of Anthropology, the Department of Art and Art History, the 23 CONVERSATION WITH PASCALE MONNIN Department of History, the Program in Africana Studies, and the Program in American Studies. -
View Exhibition Brochure
1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World. -
Red' Skelton and Clem Kadiddlehopper
Red’Skelton and Clem Kadiddlehopper Wes D.Gehring* “Things have sunk lower than a snake’s belly” [a popular comment by Red Skelton’s Clem Kadiddlehopperl. Newspaper journalist John Crosby in 1952: “How [comically] stupid can you get?” Skelton: “I don’t know. I’m still pretty young.”’ From the books of George Ade, Kin Hubbard, and Will Cuppy to the television work of Herb Shriner and David Letterman, Indi- ana’s humor has long entertained the nation. But Red Skelton’s more-than-fifty-year reign as a Hoosier comedy artist of national significance and his ongoing ties to the state-particularly as his character Clem Kadiddlehopper-place him in a peerless position among Indiana comedians. Since the 1930s Red, fittingly, has achieved success in every medium that he has attempted, including vaudeville, radio, television, and motion pictures. The cornerstone of the comedian’s career is the unprecedented twenty-year televi- sion run (1951-1971) of his variety show. All artists’ backgrounds provide special insights into their work, but there seems to be a unique fascination with the biogra- phies of humorists. Clowns comically comfort audiences with their physical and spiritual resilience. In addition, society seems espe- cially spellbound with the clown chronicle that reveals tragic roots-the ability to provoke laughter despite personal sadness. Once again Skelton is in a unique category among Indiana humorists, for he survived the harshest of childhoods. His circus clown father died an alcohol-related death before Red was born, and as a youth he endured tattered clothing, taunts about his “Wes D. -
Academicism to Modernism.Pdf
Academicism to Modernism Fresh Perspectives on Historic Indiana Art Academicism to Modernism Fresh Perspectives on Historic Indiana Art October 28, 2005 – May 21, 2006 William Weston Clarke Emison Museum of Art DePauw University Foreword Kaytie Johnson Essay and acknowledgements Laurette E. McCarthy Editor Vanessa Mallory FOREWORD DePauw University is pleased to present from their collections for the show: Dr. Stephen Academicism to Modernism: Fresh Perspectives Butler and Dr. Linda Ronald; the Jack D. Finley on Historic Indiana Art, an exhibition that focuses Collection; Indiana State Museum and Historic on the lesser-known and understudied aspects of Sites; Indianapolis Public Schools; the Richmond Indiana art from the late nineteenth through early Art Museum; the Sheldon Swope Art Museum; Judy twentieth centuries. A majority of exhibitions and Waugh; and Wishard Health Services. publications that focus upon this period tend to The contributions of several individuals have concentrate primarily on what is referred to as enabled DePauw to present this exhibition. My “Hoosier Impressionism,” – most notably paintings thanks go out to my dedicated staff – Christie by artists such as T.C. Steele, John Ottis Adams Anderson and Christopher Lynn – for their tireless and William Forsyth – which has perpetuated an energy and enthusiasm in bringing this show to incomplete, and exclusive, history of the artistic fruition. My appreciation is also extended to Kelly legacy of Indiana. By introducing our audience to Graves for her design expertise and assistance with works by unfamiliar – and familiar – artists, in a wide producing this publication, and to Vanessa Mallory, range of artistic styles, we hope to emphasize, and whose editing skills are unrivaled. -
Of Indiana and Midwestern History
of Indiana and Midwestern History Summer 1991 Viol. 3, No. 3 A Publication pf the Indiana Historical Society $5.00 Painters of the Indiana Landscape Abraham Lincoln’s Hoosier Home Indiana’s 1916 Centennial The Legacy of the WPA F 521 148 VOL3 NQ3 Indiana Historical Society Board of Trustees INDIANA HISTORICAL SOCIETY James J. Barnes, Crawfordsville Dianne J. Cartmel, Seymour William E. Ervin, Hartford City Bert R. Fenn, Tell City Ralph D. Gray, Indianapolis Ronald Morris, Greenwood Mission Statement Mary M. Mullin, Brookville Kathleen Stiso Mullins, South Bend Alan T. Nolan, Indianapolis, Chairman Larry K. Pitts, Indianapolis, Treasurer William G. Prime, Madison Evaline H. Rhodehamel, Indianapolis, ^ A SATURDAY NIGHT IN DECEMBER 1830 A GROUP OF THE MOST Vice President Richard O. Ristine, Crawfordsville DISTINGUISHED FIGURES IN INDIANA’S EARLY HISTORY—INCLUDING Richard S. Simons, Marion, President John Martin Smith, Auburn JOHN FARNHAM, CALVIN FLETCHER, WILLIAM CONNER, JOHN TIPTON, AND Theodore L. Steele, Indianapolis Stanley Warren, Greencastle Herman B Wells, Bloomington MORE THAN HALF OF THE INDIANA GENERAL ASSEMBLY—MET AT THE Administration MARION COUNTY COURTHOUSE IN INDIANAPOLIS TO FORM WHAT BECAME Peter T. Harstad, Executive Director Raymond L. Shoemaker, Assistant Executive THE INDIANA HISTORICAL SOCIETY THAT GROUP COMPOSED THE Director and Business Manager Annabelle J. Jackson, Exec. Assist. Financial ORGANIZATION’S CONSTITUTION AND DECLARED: Administration Susan P. Brown, Exec. Assist. Personnel/Policy Carolyn S. Smith, Membership Secretary Division Directors The objects of the Society shall be the collection of all Bruce L. Johnson, Library materials calculated to shed light on the natural, civil and Thomas K. Krasean, Field Services Thomas A. -
TRI-KAPPA COLLECTION of ARTWORKS at ROSE-HULMAN
TRI-KAPPA COLLECTION OF ARTWORKS at ROSE-HULMAN The Tri-Kappa Art Collecion of Indiana artists is valuable and unique. Started in 1932, the collection contains over 100 artworks by almost as many artists. The value of the collection has increased manyfold since then. After years of traveling all over the state, it was found necessary to permanently house the collection. As a result of an all-chapter poll in 1973, the chapters voted to loan nearly every painting to Rose-Hulman Institute of Technology. The works would be reframed and restored if necessary, insured, and hung permanently in the John Logan Library, which is hailed as a fire-proof building. A few paintings have been added to the collection in the library since 1973. The Tri-Kappa chapters are encouraged to plan outings to view the collection. 1 PATRIARCH MAPLE 69th Hoosier Salon 1993 Ken Bucklew (b. 1957) No. 1 Oil 15.5 X 11.5 Ken was born in Greencastle, Indiana on March 8, 1957. He grew up on the edge of Spencer in Owen County, Indiana about 13 miles northeast of Bloomington. The Bucklew Gallery is currently located in Spencer near the entrance to Indiana’s oldest “ McCormick’s Creek” State Park. Ken’s natural talent for drawing and painting was recognized by his elementary school art teacher, Ms. Ina Hight, who gave him an awareness of his potential. Ken’s work began earning him recognition, awards and a limited income during his high school years. Ken was accepted by a technical school and planned on earning his degree in commercial art. -
Reifel, J. Ottis Adams Research Collection, 1872-1972 | Indianapolis Museum of Art Archives
M010 Reifel, J. Ottis Adams Research Collection, 1872-1972 | Indianapolis Museum of Art Archives By Rebecca Denne Collection Overview Title: Reifel, J. Ottis Adams Research Collection, 1872-1972 Primary Creator: Adams, J. Ottis (John Ottis) (1851-1927) Extent: 1.71 linear feet Arrangement: The collection is arranged in two series: Series I: Primary Source Material Series II: Research Files Languages: English, French, German Scope and Contents of the Materials The Reifel, J. Ottis Adams Research Collection contains primary source documents and research files about the life and times of Indiana artist J. Ottis Adams, collected by Dorothy Reifel. The archival collection came to the Indianapolis Museum of Art from the Dorothy Reifel estate. The collection has been divided into two series which are described below. Series I: Primary Source Material, 1972-1944, n.d. contains photographs of Brookville, The Hermitage, and J. Ottis Adams' family. Also included are letters addressed to J. Ottis Adams and his wife Winifred Ottis Adams. Amongst these are messages of sympathy and condolence following the artist's death in 1927, a letter from Mrs. T.C. Steele, and letters from architect Edwin Fulwider. The series also includes a detailed family tree of J. Ottis Adams created in 1937. Passports in addition to a consignment note, a souvenir, and a hand-drawn map of Munich document the time Adams spent studying in Germany in the late nineteenth century. The series is arranged primarily by date. Series 2: Research Files, 1898-1972, n.d. contains the research files of Dorothy Reifel. Her research is comprised of newspaper clippings about J.